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3232135687703My One and Only Debuts at Lauderhill Performing Arts Centerhttps://miami.splashmags.com/index.php/2019/03/21/my-one-and-only-debuts-at-lauderhill-performing-arts-center/
https://miami.splashmags.com/index.php/2019/03/21/my-one-and-only-debuts-at-lauderhill-performing-arts-center/#respondThu, 21 Mar 2019 16:17:01 +0000https://splashmags.com/?p=42983[...]]]>The timeless music of George and Ira Gershwin plus an aviator, a Channel swimmer, exuberant dance numbers, sparkling costumes, romance, comedy, and America in 1927 equals My One and Only, Stage Door Theatre’s upcoming production at the Lauderhill Performing Arts Center (LPAC). The show opened on March 8th and will run through March 24th.

Jonathan Van Dyke & Ben Bagby – Photo Credit: George Wentzler

Created to showcase the Gershwin’s’ marvelous music, My One and Only ran for two years on Broadway and won 6 Tony Awards and 3 Drama Desk Awards.

The plot is classic musical comedy: Captain Billy Buck Chandler, a barnstorming aviator, falls for Edythe Herbert, a former English Channel swimmer and the star of Prince Nicolai Erraclyovitch Tchatchavadze’s International Aquacade. Billy, who plans to be the first man to fly solo across the Atlantic Ocean, hopes to win Edythe’s hand by taking a crash course in sophistication at Mr. Magix’ Tonsorial and Sartorial Emporial. Billy’s wisecracking female mechanic, Mickey, adds a bit of sass as a series of escapades and misadventures keep the potential lovers from finding happiness.

Jonathan Van Dyke directed the production: “My One and Only is the all singing, all dancing, all hilarity Gershwin musical comedy and it’s such a thrill to be able to present it with Broward Stage Door Theatre,” he says. It was a giant hit in the early 1980’s with Tommy Tune and Twiggy and we have assembled a spectacular cast and creative team to tap this gem into the Lauderhill PAC. The song list is a treasure, and this feel good musical will have everyone “Kicking’ The Clouds Away”!”
Along with “Kicking the Clouds Away”, My One and Only features such Gershwin classics as “I Can’t Be Bothered Now”, “’S Wonderful”, “Strike Up the Band”, “Funny Face”, “Nice Work If You Can Get It”, and of course, “My One and Only”.

Van Dyke’s cast includes Derek Seay, who plays Billy Buck Chandler and Caiti Marlowe as Edythe Herbert. Also cast are Larry Buzzeo as Prince Nikke, Colleen Pagano as Mickey, Michael Small as Reverend Montgomery, and Ben Bagby as Mr. Magix. Bagby was in the original Broadway production of My One and Only. He reprises his role at LPAC this year.

“The year was 1983 and I had just gotten my Actors Equity card from a contract with Dreamgirls,” Bagby reminisced recently. “I began going to Equity auditions for Cats, My One and Only, and other shows running on Broadway at the time. The night before I opened in My One and Only, I was offered a spot in the Broadway cast of Cats. Of course, I declined but it was nice to be asked.
“I went into the My One and Only cast in August ’83 as a replacement. This means I didn’t get to appear on the Tony Awards, but I did get to record the Original Cast Album (thus my Original Cast status).

“In 2013, I was invited and attended the 30-year MOAO Cast Reunion in NYC (on my birthday) where I was able to catch up with cast members I had not seen or spoken to in 30 years.
“This will be my first time performing in any production of My One and Only since performing in it on Broadway 36 years ago,” He continued. “I’ve always wanted to play Mr. Magix so I’m absolutely thrilled I will have the chance to with the Broward Stage Door at the LPAC. Charles “Honi” Coles, the Original Mr. Magix, was my friend and has forever influenced the way I tap dance. I’m happy to be presenting his original timeless choreography in this role.”

Mr. Bagby was sensational in the role of Mr. Magix and, although I didn’t see him 36 years ago, his tap dancing is top notch and he was my highlight of the show!

My One and Only will run until March 24 at the Lauderhill Performing Arts Center (LPAC). The theatre is located at 3800 NW 11th Place, Lauderhill (33311), in the Central Broward Regional Park on the North East corner of Sunrise Boulevard and 441 (State Road 7).

Tickets for My One and Only range from $48 to $58. (LPAC charges a $5 service fee per ticket, however if a package of four Stage Door shows is purchased the service fees will be waived.) Group rates are available, as are student prices (with valid ID). Tickets may be purchased by calling the box office at 954-344-7765 or 954-777-2055 (LPAC) or on line at www.stagedoorfl.org or on the LPAC website at https://lpacfl.com.

For more information about My One and Only and/or Stage Door Theatre, please visit www.stagedoorfl.org, or contact Derelle Bunn Executive Producer/Artistic Director, at DerelleBunn@yahoo.com / 954-344-7765 or Carol Kassie (carol@carolkassie.com / 561-445-9244).
~My One and OnlyThrough March 24, 2019

Music and Lyrics by George Gershwin and Ira GershwinBook by Peter Stone and Timothy S. MayerTickets: $48 – $58Tickets: 954-344-7765 / www.stagedoorfl.org

UPCOMING ATTRACTIONS AT STAGE DOOR THEATRE:

The upcoming shows at LPAC are exciting and just around the corner.GHOST, THE MUSICAL begins its run from APRIL 12-MAY 5. The show features the incomparable UNCHAINED MELODY, which is always on the ‘top 10’ of all-time best tunes. I’m excited to not only see this great story of powerful love story that endures even after death.

THOROUGHLY MODERN MILLIE THE MUSICAL, winner of 6 Tony Awards on Broadway, including best musical, debuts at LPAC on May 24 and will run through June 16, 2019.

July 5 – July 28, THE SOUL OF MOTOR CITY, debuts at LPAC featuring classics from The Temps, The Tops, Aretha Franklin, Diana Ross & The Supremes, and many others.

If you haven’t had the pleasure to visit the Stage Door Theatre’s new venue Lauderhill Performing Arts Center, plan your experience early for best seats. Enjoy a beautiful venue and a wonderful production.

The theatre is located at 3800 NW 11th Place, Lauderhill (33311), in the Central Broward Regional Park on the North East corner of Sunrise Boulevard and 441 (State Road 7). Parking is free, ample and on-site.

]]>https://miami.splashmags.com/index.php/2019/03/21/my-one-and-only-debuts-at-lauderhill-performing-arts-center/feed/042983Neon Carnival 2019 – The Hottest Party During Coachella Celebrates 10 Yearshttps://miami.splashmags.com/index.php/2019/03/20/neon-carnival-2019-the-hottest-party-during-coachella-celebrates-10-years/
https://miami.splashmags.com/index.php/2019/03/20/neon-carnival-2019-the-hottest-party-during-coachella-celebrates-10-years/#respondWed, 20 Mar 2019 16:26:54 +0000https://miami.splashmags.com/?p=42956[...]]]>The biggest party of the year,Neon Carnival, will return to Indio once again! The highly anticipated desert experience, will return to illuminate the night sky on Saturday, April 13th, with its biggest fête to date in celebration of its 10-year anniversary. In partnership with Levi’s® Brand (for the 5th consecutive year), the exclusive event welcomes new additions including Australian born beauty brand Bondi Sands and the upcoming big-screen adventure “POKÉMON Detective Pikachu,” from Warner Bros. Pictures and Legendary Pictures, to commemorate another year of music and festivities. Conceived by LA’s original nightlife maven, Brent Bolthouse and partner Jeffrey Best, the duo have created the unrivaled outdoor dance party that is widely recognized as one of the world’s most coveted after-parties, annually attracting the industries entertainment elite.
Photo Courtesy of Neon Carnival

For further excitement the fun has now expanded the big event and is set to debut over one of the biggest weekends in country music, Stagecoach! On Saturday, April 27th guests will be able to ‘kick the dust up,’ after seeing Sam Hunt close the festival!

“As we head towards this major milestone in Neon Carnival’s history, we’re ecstatic to celebrate our 10-year anniversary hosting one of the hottest parties in the desert amid music’s biggest festival weekend. To mark this momentous occasion, we’ve decided to expand Neon Carnival to weekend 3, during country music’s largest desert weekend in Southern California,” said Brent Bolthouse. “We’ve partnered with the acclaimed country music marketing team Boots on Stage, led by Ricky Abramson, to cultivate a unique experience creating new memories during this year’s festivities. We’ve added renowned country music DJ, Dee Jay Silver along with Kayper and Ruckus to round out the evening and keep those boots dancing all night long.”

Since relocating to its permanent home at the HITS Desert Park, the expansive equestrian center welcomes back festivalgoers with a newly redesigned all grass layout spanning 3 football fields, featuring new carnival style games and exhilarating amusement park thrills, with continued involvement from the biggest names in entertainment and consumer lifestyle. Award-winning Australian self-tanning brand, Bondi Sands makes a splash as they enter the U.S. market by activating at this year’s carnival, including a fully branded bumper car installation emblazoned with neon signs and photo booth fun, in addition to hosting a water race game with branded balloons and more.

New-media Company and digital platform for creative leaders, Future Party, will help curate the guestlist for weekend 1. No strangers to the nightlife scene, Hollywood heavy hitter DJs Kayper, DJ Ruckus and a special guest performance will keep partygoers dancing with performances that last into the early morning hours.

It’s no wonder why Neon Carnival is THE highlight of the weekend! Year after year the party continues to improve. Surrounded by elite and dancing on neon floors while playing your favorite carnival games, Neon Carnival is THE hottest ticket!

This iconic and beloved hit sci-fi musical has an “electrifying” 1960s pop/rock score, and is based upon a Roger Corman film from the 1960’s that starred a young Jack Nicholson. Directed by L. Walter Kearns, and featuring musical direction by Eugene Dizon, lighting design by Kristof Janezic, sound design by Carl Wahlstrom, costume design by Serena Sandoval, and scenic design by Alan Donahue, with puppets designed by Martin P. Robinson and choreography by Christopher Chase Carter, the engaging production tells the story of “a neighborhood of lovable losers.”

Dana Tretta, Christopher Kale and Tommy Novak

Seymour Krelborn is a meek and dejected assistant at a floral shop who happens upon a strange plant, which he affectionately names “Audrey II” due to his deathless love for Audrey, who also works at Mushnik’s Flower Shop, in a dreary and run-down neighborhood. Audrey’s sinister boyfriend, Dr. Orin Scrivello the dentist, is physically cruel to her as well as to his patients and she is ashamed of herself. Seymour’s discovery of the miraculous plant with the soulful R&B voice and toilet mouth wins the shop immediate fame and lots of business, and wins Seymour the status of “son” to Mushnik and first the notice and then the love of Audrey.

However, the plant has an unquenchable thirst for human blood, and like a massive Venus Flytrap, devours all and sundry as it grows to immense proportions, demonstrating extra-terrestrial origins and his true drive for world-domination.

Kearns has engineered this often produced favorite into a highly enjoyable and lively show, highlighting the be-bop music, the wacky sci-fi elements, the strongly delineated personalities, and not missing an emphasis on the underlying moral/societal admonitions central to the story. Careful casting generates a watchable ensemble and memorable featured characters.

Nicole Lambert, Shantel Cribbs and Adhana Reid

Featuring Christopher Kale Jones as the decent, genial and highly credulous Seymour; Dana Tretta as the abused platinum blonde Audrey; Sam Woods and A.D. Weaver as The Plant Puppet and it’s Voice; Nicole Lambert, Adhanna Reid and Shantel Cribbs as the fine song and dance trio Crystal, Ronnette and Chiffon; Tommy Novak as the greedy, loveable nudnik Mr. Mushnik; and David Sajewich as the adorably evil/incredibly versatile Dr. Orin Scrivello and Everyone Else.

Music Director Dizon does a terrific job allowing the trio of hot and provocative singers to produce vocals that build with show-stopping force. It was a wise move to prominently position Lambert, Reid and Cribbs as Chiffon, Crystal and Ronnette in this production as they are a high-spirited delight to watch and hear as they belt out numbers with panache and sashay all over the stage, delightfully fulfilling their function as key narrative relators.

Throughout the show, the singing is of high quality in the ensemble numbers from the opening, Skid Row, in which the cast and choreographer Carter herald a level of competence that is later fulfilled and even exceeded.

Sam Woods and Christopher Kale Jones

Tretta, in the role of Audrey, is a powerhouse singer and offers a hilarious and touching rendition of Somewhere That’s Green. Playing opposite her, David Sajewich as hateful antagonist Orin Scrivello is smarmy and convincingly awful; he does a stellar job with his drill and lyrics in Dentist. Christopher Jones as Seymour is a fine earnest nerd who performs a lusty duet of Suddenly Seymour with Tretta’s Audrey, with outstanding backup by the trio.

The production values are simple, strong and relevant. Donohue’s set is charming and detailed, Wahlstrom’s sound quality is particularly fine; you can easily hear and comprehend Ashburn’s funny lyrics. Janezic’s lighting design is clever and the special effects required in Little Shop, including Robinson’s puppets, are achieved with panache. Sandoval’s costumes are kitschy and really fun, particularly the many and varied outfits worn by the trio. Carter’s choreography was especially appreciated; this is not a huge stage, it was full of people and props, and yet there was room for big moves and energetic stepping.

]]>https://miami.splashmags.com/index.php/2019/03/20/little-shop-of-horrors-review-mercury-theater-chicago-gives-the-musical-a-fresh-spin/feed/042918Passover Wines 2019 – New Offerings to Enhance the Holidayhttps://miami.splashmags.com/index.php/2019/03/19/passover-wines-2019-new-offerings-to-enhance-the-holiday/
https://miami.splashmags.com/index.php/2019/03/19/passover-wines-2019-new-offerings-to-enhance-the-holiday/#respondWed, 20 Mar 2019 02:57:25 +0000https://splashmags.com/?p=42805[...]]]>Wine is essential to Passover, when Jewish people around the world gather with family and friends to recount the story of the Exodus from Egypt and share a festive meal. It is customary for all (adults) to drink four cups of wine at the Seder. That’s a lot of wine for one meal!

This year Passover begins on the night of April 19, which is somewhat later than usual. But it’s great news for wine lovers, according to Royal Wine’s PR Director, Gabriel Geller. In the runup to Passover 2019, Geller recommends new bottlings to explore for the “Feast of Freedom” – the commemoration of the redemption of the Jewish people, some 3,500 years ago, from centuries of slavery in Egypt. His suggestions pair exceptionally well at the Seder table or any other special occasion, and run the gamut of varieties and price points.

Passover 2019 Gush Etzion Spring River Rose

Promising Rosé

According to Geller, some outstanding new 2018 rosé wines were released in time for Passover 2019, and the new vintage is promising. “I enjoy starting the Seder with a glass of cold, fresh rosé, so the timing is perfect.”

Smooth and easy to drink, rosés are best consumed young and fresh. He cites the Herzog Lineage Rosé from Clarksburg, CA (SRP $19.99) as a delicious, fruity, and herbal complement to light starters. Other good bets include Gush Etzion and Flam(SRP $24.99 and 34.99 respectively). These wineries, both located in Israel’s Judean Hills, were among the first out of the gate with their new rosés this year.

Complex Reds

Passover 2019 Chateau de By

“As soon as the main course is served,” Geller said, “I will typically move on to a more multi-layered wine such as the Carmel Limited Edition 2014 (SRP $79.99), a Bordeaux-style blend from Israel.” Also of note is Domaines Rollan de By, owned by Jean Guyon. The extravagant designer just released the first-ever new kosher run from his estates: Chateau de By Medoc 2016 (SRP $27.99). “Well-balanced and medium-bodied, this Bordeaux from an exceptional vintage is silky in the mouth and pairs well with many types of dishes, claims Geller. “It would be a good choice for the Passover Seder.”

Passover 2019 Carmel, Limited Edition

Lineage Choreograph a field blend of more than a dozen different grapes comes from an experimental plot on the Herzog estate vineyard — the wine is soft and inviting while at the same time complex and flavorful, and very reasonably priced (SRP$20.00)

Herzog Wine Cellars also recently released Herzog Special Reserve Quartet 2015, a blend of varieties grown in prime regions of California. The wine, as its name indicates, comprises 4 grape varieties: Malbec, Petit Verdot, Cabernet Sauvignon and Zinfandel. Full-bodied, rich, complex, and spicy, it impresses with its remarkable balance, while showcasing the unique characteristics of each variety (SPR: $39.99).

Geller also noted that Italian wines have been gaining in popularity among kosher consumers. Wine Spectator recently awarded the Terra di Seta Chianti Classico Riserva (SRP $34.99) an impressive 93 points. Now that the 2013 has made its way to the shelves, Geller predicted that this superior vintage will outperform its predecessor.

Sweet Endings

Passover 2019 G de Chateau Guiraud

A long meal such as the Passover Seder also requires some fine dessert wine to end the night on a sweet note. Chateau Guiraud, which was absent from the kosher scene since 2001, recently made a comeback with two new wines available for the first time in a kosher version.

G de Guiraud 2017 (SRP $39.99) is a satisfying, dry blend of Sauvignon Blanc and Semillon, while the chateau’s second Sauternes, Petit Guiraud 2017, is a luscious, wonderful dessert wine (SRP $74.99). Herzog Late harvest Orange Muscat2018 – don’t be fooled by this wine’s orange tinge and floral near orange aromas. Its 100% Orange Muscat Grape has great lively acidity and sweetness, all rolled into this floral, long-lasting luscious wine (MSRP $22.99).

Bartenura Moscato

New Kosher for Passover Spirits:

· Hacienda de Chihuahua Sotol Anejo Sotol is from the northern state of Chihuahua in Mexico. Sotol is not made out of Blue Agave like tequila, but Dasylirion wheeleri, otherwise known as Desert Spoon, or Sotol in Spanish (My wife translated that for me).This Anejo Sotol is rich and smoky with slight hints of Grapefruit.

Passover 2019 Hacienda de Chihuahua Sotol Reposado

· Hacienda de Chihuahua Sotol ReposadoLike a typical Reposado from Mexico this is aged only for 6 months. A special uniqueness to Sotol is the oak used for ageing the product is Virgin oak unlike tequila which does used bourbon barrels. The fresh oak gives added tannins and spice to this tasty item.

Passover 2019 Zachlawi Dry Arak

· Zachlawi Dry ArakArak, which means perspiration in Arabic, is the spirit drink of choice in the countries of the middle east. Abe Shrem, founder of Zachlawi, brought his family’s old Syrian recipe back to life here in the USA. Bold Anise aromas shine through with delicious licorice finish.

· Elite Arak

Elite Arak is one of the leading Israeli producers of this centuries-old spirit. Every Friday afternoon, a day off for many Israelis, men and women sit outside together with friends while sipping a cold shot of Elite Arak.

· Alouf Arak

Passover 2019 Alouf Arak

The most popular Arak in Israel, Alouf Arak is silky smooth with notes of sweet anis and fig.

· Godet Fine de Cognac

A wonderful blend of eau-de-vie from the Grande Champagne and Petite Champagne growing regions. These two growing regions have very chalky soil which helps to make a very aromatic eau-de-vie, which is distilled to make this special cognac.

What Makes Kosher Wine Kosher:

There’s a common ‘urban legend’ that wine is rendered kosher after being blessed by a Rabbi – that is incorrect. Actually, for a wine to be made kosher there are strictly supervised purity guidelines that need to be followed from the moment the grapes enter the winery to when the wine is bottled.

Passover 2019 Petit Guiraud Sauternes

To be considered kosher, Sabbath-observant Jews must supervise and sometimes handle the entire winemaking process, from the time the grapes are crushed until the wine is bottled. Any ingredients used, including yeasts and fining agents must be kosher.

Some Kosher wines are processed as Mevushal, which means ‘cooked’ in Hebrew. Some wineries produce their Mevushal wines by heating the must (grape juice) prior to fermentation, while others apply that procedure on the final product, prior to bottling.

When kosher wine is produced, marketed and sold commercially, it will bear kosher certification granted by a specially-trained rabbi who is responsible for supervision from start to finish.

About Royal Wine/Kedem

Founded in 1848, NJ-based Royal Wine Corp. has been owned and operated in the United States by the Herzog family, whose winemaking roots go back eight generations to its origin in Czechoslovakia.

Today,Royal Wine’s portfolio of domestic and international wines range from traditional wine producing regions of France, Italy and Spain, as well as Israel, New Zealand and Argentina.

Additionally, Royal Wine Corp.’s spirit and liqueur portfolio offer some of the most sought-after scotches, bourbons, tequilas and vodkas as well as hard to find specialty items such as flavored brandies and liqueurs.

The company owns and operates the Kedem Winery in upstate New York, as well as Herzog Wine Cellars in Oxnard, California, a state-of-the-art-facility featuring guided wine tours, a fully staffed modern tasting room, gift shop and catering facilities. Additionally, the winery houses the award-winning restaurant Tierra Sur, serving the finest, Mediterranean-inspired, contemporary Californian Cuisine.

Happy Passover

Photos: Courtesy of the wine companies

]]>https://miami.splashmags.com/index.php/2019/03/19/passover-wines-2019-new-offerings-to-enhance-the-holiday/feed/042805Friends with Guns Review – The Problem or the Solution?https://miami.splashmags.com/index.php/2019/03/19/friends-with-guns-review-the-problem-or-the-solution/
https://miami.splashmags.com/index.php/2019/03/19/friends-with-guns-review-the-problem-or-the-solution/#respondTue, 19 Mar 2019 22:03:20 +0000https://losangeles.splashmags.com/?p=42875[...]]]>Playwright Stephanie Alison Walker tackles yet another controversial topic in her latest play, FRIENDS WITH GUNS. The question you must ask yourself is where you stand on “the gun issue.” Are you in favor of gun ownership and maybe even nervous that your neighbors might own guns – or do you strongly support gun control? And how flexible are you about your opinion? Can you listen calmly to arguments in the direction you haven’t chosen? Are there any situations where your opinion can change? Has your opinion changed over the past few years?

Brian Graves and Kate Huffman – Photo by Brian M. Cole

Liberal couple Shannon (Kate Huffman) and Josh (Brian Graves) are sure about where they stand. And that happens to be in the definite “con” corner. They don’t own guns, and they don’t plan on getting any guns. Then the surprising happens. While they’re visiting with neighbors Leah (Arianna Ortiz) and Danny (Christian Telesmar) for a chummy night out, they make the stunning discovery that their new friends own guns. And that they keep the guns in the garage. Clearly, cognitive dissonance prevails. How can they maintain a friendship – and especially a lasting connection between Shannon and fellow-overwhelmed-mom Leah – when their new acquaintances seem to stand for something they’ve rejected?

As it turns out, Shannon is not quite ready to disown the woman who has offered her the support she needs so badly – but, of course, their association must remain a secret from Josh, who has forbidden Shannon from continuing their friendship. As the two women begin to share war stories about their lives, Shannon realizes that they might have a lot in common and, more importantly, that Leah may represent the part of herself that she’s been suppressing during her marriage to the controlling Josh. Maybe she won’t implode if she holds a gun – or even fires it. What wrong with a little spontaneity in an otherwise dull, totally predictable marriage?

Christian Telesmar and Brian Graves – Photo by Brian M. Cole

Director Randee Trabitz does a yeoman’s job of helming this production, keeping the subtle nuances of a coupling in focus while introducing stressful dynamics that have been long ignored. Of course, Trabitz has an excellent ensemble cast to work with: special kudos to the two women who cast a female perspective on the typically male topic of guns and what they may represent. Stephen Gifford’s scenic design is simple and flexible, with the entire production team keeping the focus on internal dynamics and how inner changes are reflected in the real world. FRIENDS WITH GUNS is definitely as fascinating psychological study of ideas, opinions, stress, and marital expectations.

Arianna Ortiz and Kate Huffman – Photo by Brian M. Cole

FRIENDS WITH GUNS runs through May 5, 2019, with performances at 8 p.m. on Fridays and Saturdays and at 2 p.m. on Sundays. The Road on Magnolia is located in the NoHo Senior Arts Colony, 10747 Magnolia Blvd., North Hollywood, CA. Tickets are $34 (seniors and students, $15; Sunday performances Pay-What-You-Can). For information and reservations, call 818-761-8838 or go online.

]]>https://miami.splashmags.com/index.php/2019/03/19/friends-with-guns-review-the-problem-or-the-solution/feed/042875My Big Gay Italian Wedding – The Wedding of the Yearhttps://miami.splashmags.com/index.php/2019/03/19/my-big-gay-italian-wedding-the-wedding-of-the-year/
https://miami.splashmags.com/index.php/2019/03/19/my-big-gay-italian-wedding-the-wedding-of-the-year/#respondTue, 19 Mar 2019 20:37:13 +0000https://losangeles.splashmags.com/?p=42866[...]]]>Playwright Anthony Wilkinson seems to specialize in “big,” “gay,” and “Italian”, with some of his other works dealing with (the above) midlife crisis and funeral. Wilkerson knows his way around the human heart and is the winner of several daytime Emmys and Director’s Guild awards for his work as associate director on the daytime drama, “One Life to Live.” His “Italian series” cements his ability to take a comic turn when needed. MY BIG GAY ITALIAN WEDDING premiered in New York in 2003.

Gianfranco Terrin and David-Simon Dayan – Photo by Ian Fisher

Lovebirds Anthony Pinnunziato (Gianfranco Terrin) and Andrew Polinski (David-Simon Dayan) decide that they’re ready to say their “I do’s” despite some possible barriers to their wedding plans. Anthony comes from a very traditional family, and his mother Angela (Linda Nile) insists that they have Father Rosalia (Carlo Carere) presiding in a Catholic wedding – even if the Catholic Church has its misgiving about same-sex marriages. Besides that, Andrew hasn’t spoken to his mother in years – and Angela insists that mom give her son Andrew away at the ceremony. To add some spice to the confection, Andrew’s ex-lover Gregorio (Fabrizio Alliata) shows up at the wedding with a titillating secret that just might scuttle the whole affair. All the members of the extensive Pinnunziato family will definitely make an appearance at the proceedings, each adding his own special flavor to the wedding cake. What could possibly go wrong?

Wearing two hats, Gianfranco Terrin does double duty as director and star. It soon becomes apparent where all that energy is channeled as Terrin plays the exuberant Anthony while herding the cast of 15 under the flowered archway to future bliss. The ensemble cast gives it their all as they bump shoulders and personalities in this peppy, vigorous comic production. Kudos to Ric Olivera, Kevin Clough, Ana Maria Perez, Tiera Dashae, Serena Limonta, Claudia Jakab, Salvador Aven, Julian Zambrano, Tomaso de Blasi, and Sarah John Long – the balance of the wedding guests. Don’t expect any soul searching in these one-dimensional folks. Their only job is to entertain and keep the laughs coming – which they do with some uproarious results. Although the characters at the wedding sometimes smack of stereotypes, MY BIG GAY ITALIAN WEDDING remains a good-natured jaunt into the world of humor. The show is cute, funny, and has enough song and dance to uplift the audience. MY BIG GAY ITALIAN WEDDING is a presentation of the Italian Comedy Club and Fausto Petronzio.

Gianfranco Terrin and Linda Nile – Photo by Ian Fisher

MY BIG GAY ITALIAN WEDDING runs through March 31, 2019 with performances at 8 p.m. on Fridays and Saturdays and at 3 p.m. on Sundays. The Hudson Theatre (Main Stage) is located at 6539 Santa Monica Blvd., Hollywood, CA 90038. Tickets are $55. For information and reservations, call 323-481-6890 or go online.

“Don’t you get lonely?” people often ask me when they find out I travel around the world by myself. I have to say no.

Two things happen when you are by yourself. For one thing, when your mind is not filled with people, the world itself can become a companion. I have had so many ecstatic experiences of nature off by myself. I have also had them with others around, but I didn’t know until I had my solo highs to compare, that the other person takes up some of the psychic space in my head. The sharing is wonderful. It deepens my relationships, no question. But the price of connecting with my sister or friend pulls me into our mutual orbit. When there’s nobody else, my feeling of connectedness flies out and away, expanding to nearly infinity. And it lasts a lot longer, too, because I don’t turn my attention away to another.

Nature can be shockingly present when you are alone and only a few feet away from one of the wild horses of he Camargue

It doesn’t have to be a stunning vista either. I’ve had the feeling take hold on a shaded neighborhood footpath. I can still feel the autumn-edged air in Northern California, see the light filtered through yellow leaves, smell them crushed underfoot. Another time was in New Zealand – not in the spectacular, unearthly landscapes of the South Island. I was driving the hills of the North Island, just ordinary farmland, on my way to the shore. But there was the road that seemed to climb into the sky and disappear, a cow on the far hill, and me at the wheel and it felt as if we were all interconnected. I was the cow and the light and the road that was vanishing ahead.

Singing wordless opera at the top of my lungs would not have been possible if I had a companion as I drove the magical hills of New Zealand. As it is, the road, the sky, and the song are forever mine.

These times, and countless others, only happened after I had spent days alone, not quite like a hermit because I did come across people. I spoke with them. Exchanged pleasantries. But they did not occupy my inner space, and when we parted, there was only the lingering sweet essence of human contact.

Lighting candles in an Italian church, not because I’m a believer so much as the candle is a focus for remembering.

The other reason I don’t get lonely is that I do make casual contact everywhere I go. Studies have found that regular casual social interaction is as protective of depression and lonliness as having an intimate partner can be. Travel doesn’t make sense if you spend your whole day in bed on the computer. Travel asks you to go out and “see the elephant.” To explore the town. Catch the sights. And while you’re out, there are people you brush up against. If you take the time, each one of them is an opportunity for human contact. A few extra words, a query for recommendations or a comment about something going on nearby, and you’re suddenly not alone in the world. I read about one fellow who traveled in Hungary and asked older women he met where he could sample real goulash. He ended up being invited to homes, or being sent to villages to eat at tavern. His trip was full of connection.

Passing the Beatles’ Penny Lane roundabout, the occasional tour is a chance to connect with others on the same journey and open your world to include theirs for an hour or so.

You can also be open to others who might chat with you, but that’s trickier. Scammers are very good at chatting people up, and offering to show you around or help you out. Beware the person who approaches you and offers help, unlike the young man who sought out a specific dish and through that, connected with others. Let your intuition tell you if someone is too pushy or just “sticky.” And it goes without saying not to be that yourself. Look for brief moments with others, not a lifelong friend in a faraway place.

I admired a dog and found out about the remarkable Lagotto Romangnolo, the only true canine truffle hunter breed, an encounter that enriched my day and that I’ll never forget now.

Still, insead of looking for a quick exit from a conversation with a ticket agent or shop assitant, linger a moment. In a small, out of the way cafe, the proprietor might ask a question or appreciate a comment. Is there something else to say? To ask? So many people know a good cafe in the neighborhood, for example. Ask. And then go. And tell them the lady at that store or the guy at the newstand recommended them. And there you are, a part of a circle of humans in a faraway place. It really is that easy.

Asking someone to snap your picture is another great way of opening the door to conversation and connection. Even if you don’t speak the language.

]]>https://miami.splashmags.com/index.php/2019/03/19/going-solo-alone-but-not-lonely/feed/042730Lackawanna Blues Review – A Tour de Forcehttps://miami.splashmags.com/index.php/2019/03/18/lackawanna-blues-review-a-tour-de-force/
https://miami.splashmags.com/index.php/2019/03/18/lackawanna-blues-review-a-tour-de-force/#respondTue, 19 Mar 2019 04:32:29 +0000https://losangeles.splashmags.com/?p=42834[...]]]>The most important person in this tribute never even sets foot on stage – for this is Ruben Santiago-Hudson’s memorial to Rachel Crosby, the tough, tender, cross-at-your-own-risk, larger-than-life woman who raised him. Besides his obvious love and respect from this indomitable woman, Santiago-Hudson gives the audience an intimate peek at the black community of Lackawanna in the 1950’s. This upstate New York industrial town has its share of odd and wonderfully interesting and unforgettable folks, people who left an indelible impression on a young, impressionable boy as he grew into manhood.

LACKAWANNA BLUES is the shared project of Bill Sims, Jr., musician and composer extraordinaire, and Santiago-Hudson, raconteur, writer, and talented musician in his own right. Initially performed in 2003 by Santiago-Hudson – the man with the stories, memories, and gently sobbing harmonica – and Sims – the tender throaty guitar backing up tales sad and funny. Sims recently died – but his melodies and throbbing guitar will live on – currently in the person of talented Chris Thomas King, a New Orleans blues guitarist, composer, and actor.

Chris Thomas King – Photo by Craig Schwartz

When Nanny discovers that four-year-old Ruben has been left alone by his single mom, she takes him in without a blink – just as she’s become the mother and savior for so many lost souls who live in her rooming houses. The Statue of Liberty call out to “the tired…poor…the wretched refuse of your teeming shore…the homeless, tempest-tossed,” but Nanny did her one better by becoming an integral part of the lives of those around her – the disenfranchised, handicapped, confused, and completely nuts. People like Ol’ Po Carl, a former Negro League baseball player who had to give up whiskey because of “roaches of the liver” and Numb Finger Peter, who lost his fingers to frostbite after falling asleep in the snow. But still managed to get involved in “the fight of the century” with one-legged Lemuel Taylor, rescued from a mental hospital.

Ruben Santiago-Hudson – Photo by Craig Schwartz

Ruben Santiago-Hudson proves to be a gripping story teller, but also a fantastic mime and a musician able to give the harmonica its own special voice. LACKAWANNA BLUES is a not-to-be-missed catalog of the customs of an entire community (wilted lettuce and all), what makes life special, and how day-to-day events can form a whole greater than the sum of its parts. It’s poignant, funny, and may bring a tear to your eye.

Ruben Santiago-Hudson – Photo by Craig Schwartz

Michael Carnahan’s scenic design sets the mood, and Santiago-Hudson and Chris Thomas King take it from there. With a flick of the wrist, the two make the audience part of the landscape, no longer observers but participants in a history that may never be repeated.

SPLASH SELECTION

LACKAWANNA BLUES runs through April 21, 2019, with performances at 8 p.m. on Tuesdays through Fridays, at 2:30 p.m. and 8 p.m. on Saturdays, and at 1 p.m. on Sundays. Added 6:30 p.m. Sunday performances in place of 2 p.m. performances on April 14 and April 21. No performances on Tuesday, 3/19, Wednesday, 3/20, Thursday, 3/21, and Friday 3/22. No 8 p.m. performance on Tuesday, 4/16. The Mark Taper Forum is located at the Music Center, 135 N. Grand Avenue, Los Angeles, CA 90012. Tickets range from $30 to $109. For information and reservations, call 213-972-7231 or go online.

]]>https://miami.splashmags.com/index.php/2019/03/18/lackawanna-blues-review-a-tour-de-force/feed/042834The Roommate Theatre Review – A Not-So-Perfect “Roommate”https://miami.splashmags.com/index.php/2019/03/18/the-roommate-theatre-review-a-not-so-perfect-roommate/
https://miami.splashmags.com/index.php/2019/03/18/the-roommate-theatre-review-a-not-so-perfect-roommate/#respondTue, 19 Mar 2019 00:39:10 +0000https://splashmags.com/?p=42816[...]]]>(St. Petersburg, FL) March 16, 2019 – Cagney and Lacey. Thelma and Louise. Lucy and Ethel. These famous female friendships are well-known and beloved for their loyalty, trust, and unconditional support for each other. Their sisterly bonds are immortalized in the canon of television and cinematic history. Playwright Jen Silverman attempts to accomplish this feat with “The Roommate,” which has been making the theatrical rounds across the country, such as Actor’s Theatre of Louisville Humana, SF Playhouse, South Coast Repertory (my old stomping grounds), and is now making its Tampa Bay Area premiere at American Stage. Sadly, Silverman’s underdeveloped story ruins the St. Pete’s theatre’s chances of maintaining its perfect 2018-19 season.
Friendly Sharon

Fifty-something Sharon (Annie Fitzpatrick) is not a happy camper. Divorced and a mother of a son who doesn’t respect her, she longs for change, excitement, and growth. She places an ad for a roommate to fill the empty space in her Iowa home. Enter Robyn (Amy Resnick), a street-wise bohemian who is a jack of all trades: pottery, slam poetry, fraud and growing weed. She has skeletons in her closet and Sharon is determined to strike a friendship with this enigmatic woman, leading her to be transformed in unpredictable ways.

Mysterious Robyn

The good news is Silverman does not fall into that new wave of “Theatrical Texting,” a writing style that is a detriment to drama and cinema; visit here and here for detailed explanations with regard to this trend. Her pacing is natural and succinct where it needs to be, and her monologues are patient and thought-provoking…for Sharon, at least. Silverman indicated in an interview that “The Roommate” was an opportunity to write a two-character play. And she is somewhat successful. The problem is Robyn. We don’t know much about her as we do with Sharon. She’s guarded, intense, and has a dry sense of humor, but Robyn’s past regarding her ex-husband and daughter is criminally neglected, compared to the complex psychological layers of her roommate. It’s like watching a teeter-totter with only one person participating in the game. And because of this lack of character development, the pacing of the production drags and. Another serious flaw is Sharon’s awkwardness to Robyn being a lesbian. The dialogue is overcompensating, wooden and awkward, very much to what screenwriter Nick Schenk did with two Clint Eastwood films: the mediocre “Grand Torino” and the disastrous “The Mule.” Both writers try to add blunt commentary to their works, resulting in an experience that feels more like watching a poorly lectured social studies class.

The Best of Roommates

Fitzpatrick does a phenomenal job with Sharon, incorporating a mixture of jubilant energy, deep-seated repression, and a slow-burning edge of corruption the longer she is exposed to Robyn’s criminal activities. Her comic-timing is flawless, especially since she has a majority of the funniest lines in the play. Resnick’s Robyn is extremely problematic. A talented actress, she does capture the wounded nature of Robyn, but she shows extreme difficulty handling her character’s incomplete persona. And her methods of expressing Robyn’s nature are puzzling. She over-exaggerates her masculine swagger and stretches out certain key worrrrrds throughout the show. It felt like Resnick was combining a street thug from a Martin Scorsese crime epic with a drugged-out Midwest trailer-trash hooker from a David Lynch…whatever movies he creates. It’s an unfortunate distraction which, sadly, highlights Silverman’s flawed script even more.

I do understand that criticizing the overall production only on the basis of the script’s weakness, especially one that was previously lauded, is a major faux pas reviewers should avoid. However, it is a theater’s responsibility to produce quality plays. If the script doesn’t work, the overall production won’t work, regardless of how talented the actors and director are. And this theatrical choice ruined what would have been a perfect 2018-19 season for American Stage. This happened last season with “Strait of Gibraltar,” one of the worst plays I have ever had the displeasure to see and review. Hopefully, its three remaining shows, especially Eugene O’Neil’s immortal “Long Day’s Journey into Night,” will more than compensate for this mistake.

This city is old enough to remember. And, thankfully, Tim Pinckney’s Still at Risk, a play about the activists who fought for change during the early onset of the AIDS crisis, refuses to let us forget. I came to New York in the late 70’s, just a few years before the first AIDS cases started to appear, before the disease even had a name. Before, as Risk so wrenchingly points out, local and federal officials had something to pointedly and unforgivably ignore. To neglect. To fail to fund a possible cure for. “If this fucking disease had found its way into straight white Republican men first, it would have been cured in a week. They wanted us dead,” one of the characters in Risk says.

In response, a small group of New Yorkers forms ACT UP, which was something new for its time: a group as devoted to calling out the hypocrisy of a government of, for, and by the people, as it was to providing life-determining support services for those afflicted with AIDS. Risk picks up the story some 15 years later. In setting his play at midpoint in the disease’s history, halfway between its inception in the early 80’s and the present day, Pinckney presciently—and with a deep-seated sense of humanity—pivots between looking back at a harrowingly dark period in our country’s history and layering the play’s current time-setting (the early 2000’s) with eerily foreboding warnings. As Pinckney told Splash magazines in a recent interview, “It’s important for this part of history to be discussed.” He recalled meeting with an audience of LGTBTQ students in San Francisco, shortly after the Parkland massacre, who told him, “We are living in a time where our friends are being killed and the government is sitting back and doing nothing. We understand the story of this play very well.”

STILL AT RISKPictured: Set renderings by Jason Lee Courson.Photo Credit: Courtesy of Still at Risk﻿

A big part of what makes Still at Risk so appealing is Pinckney’s stripping away of the social and political layers to reveal the personal: the varied, complex human beings striving beneath. The characters in his play are fully dimensional: passionate, driven, flawed, authentic. They are also tirelessly funny. “I fell on my way here and stopped at a friend’s to borrow something to wear,” Kevin, a former ACT UP volunteer, says, explaining to an old acquaintance, Susan, the reason for his attire. To which Susan replies, “Your friend Hannah Montana?” Susan, herself a former activist who once shaved her head, pierced her nose, and dated women, but who now had a daughter with a male ACLU lawyer, continues, “You’re sort of dressed like a woman.” To which Kevin says, “What’s more surprising is so are you.”

In the late 80’s, my wife was close friends with a funny, smart, charismatic coworker who taught English as a Second Language, as did she. Both were also pursuing careers in the performing arts. By the time I met my wife and her friend, Chico, in the early 90’s, he had already been diagnosed as HIV-positive. When I visited him in the hospital, shortly before he died, his once dark, flowing head of hair was gone, and beneath his white gown, his body seemed sizably shrunken. My wife and I talked of the greater waste, the terrible, unimaginable loss: the 40 or 50 years denied Chico for no good, earthly reason.

It was through the efforts of ACT UP, and organizations like it, that people diagnosed with HIV, people like Chico, are no longer handed the immediate equivalent of a death sentence. As Susan herself says, “Everyone isn’t dying constantly. And isn’t that exactly what we hoped for? For it to be easier, so no one would ever go through again what we went through. ‘Memo to Everyone currently living on Planet earth – You’re welcome.’”

Yet the work is far from finished. According to HIV.gov more than a million people in the U.S. still have the HIV virus. About 15 percent are unaware of even being infected. And, in a larger sense, the fight against all forms of intransigent prejudice, negligence, and hate continues. “With the insanity that is currently sitting in our White House,” Pinckney notes, “it’s imperative that we use our voices and speak out, march, write, talk to our colleagues and neighbors. We have the power to bring about great change. We have done it before, many times. And we will do it again, very soon.”